quality. Looms operated by machinery are unknown. The rugs are made in a
primitive fashion by the peasant women and girls, who work at the looms
in their own homes when not engaged in field labor or domestic duties.
They also do the washing, dyeing, and spinning of the wool. The
introduction of rug-weaving into Syria took place about the beginning of
the nineteenth century, when a number of families emigrated from Brusa
to villages of Syria, where they taught their art. For many years
excellent rugs were woven, Haidamur especially taking the lead in
superiority of quality, design, and durability. Unfortunately, the
original designs and blending of colors introduced from Turkey have
entirely disappeared, and only inferior rugs are now made throughout the
country. The chief colors in the modern Haidamur rugs are red and black,
or sometimes crimson and black, with black or dark brown figures at each
end. At Damascus a few rugs are woven, but not of any great value or
distinctive beauty.
CHINESE RUGS
The Chinese rugs of antiquity are remarkable, and worthy of the closest
inspection. Their texture, designs, and symbolism show the greatest
patience and thought. Antique wool rugs woven in China are very scarce,
and because of this, and for their historical interest as well as their
uniqueness and attractiveness, they bring large prices. In fact, they
are almost unprocurable. A large and very fine specimen of this kind of
rug is in the home of the late Governor Ames of Boston. It measures
nineteen by twenty-one feet. The colors are yellow and white, and these
are arranged in odd designs over the entire rug. A member of the family
owning it writes: "This rug is said to have originally been in the
Emperor's Palace in China. As every emperor is obliged to have the
palace newly furnished when he succeeds to the throne, owing to some
superstition connected with the retaining of any of the former Emperor's
possessions, everything is removed and destroyed. Fortunately this rug
escaped destruction." A fine example of an antique Chinese rug is
represented in one of the illustrations of this book.
The modern Chinese rugs are vastly different from those of antiquity.
There is, however, much of interest attached to them. They are sought
because of their antique designs, their harmonious coloring, and their
durability. The monstrous and fantastic forms that distinguished the
antique are not so frequently met with in the modern production. The
predominating colors in a modern Chinese rug are yellow, blue, white,
and fawn, and these are arranged very effectively. The designs are
quaint and odd. A border distinctly separated from the field is almost
invariably seen. A most important geometrical motif observed in Chinese
rugs is the Meandrian, especially the continuous and that derived from
the hooked cross. The hooked cross we find with rounded arms, generally
in connection with a cloud band. The rosette from the vegetable motifs
is very frequent, especially in borders; also the branch and the
continuous creeper. Bats, butterflies, storks, and the goose are in many
borders. The lion--symbol of a happy omen--is often represented in those
rugs designed especially for wedding ceremonies.
[Illustration: ANTIQUE CHINESE WOOL RUG
SIZE, 7.10 × 5.2
_The modern Chinese wool rugs are not at all like this antique specimen,
which was woven in Shantung about the year 1750. The material is wool,
the pile is very thick and soft, and the texture, though loosely woven,
is lasting. A large circular form in the centre of the field is richly
decorated in a fine blue, yellow, and white floral design. Ivory is also
seen in the markings, but no other colors are used except light yellow
and a deep blue. The field is of a rare apricot hue, very unusual and
beautiful. The border holds a Chinese fret design, the symbol of long
life. This is in a rich deep blue, and the out-most part of it is in a
dark shade of blue. The separate sprays of flowers on this rug represent
the tea flower, which the Chinese use for decorative purposes, and the
larger sprays hold the imperial flower._
OWNED BY THE ESTATE OF THE LATE MR. H. O. HAVERMEYER, NEW YORK.]
In the northern part of China rugs are decorated with colored threads in
crude imitation of figures; they are woven in sections, and then sewed
together. Camel's hair of a coarse quality is used extensively by the
Chinese for their rugs, and the laboring class use felts in their
houses. These are cheap and durable, and are placed on the tiled floors
so common in the colder parts of China. The skins of the doe, deer,
and fox are much used in China as rugs. These skins are sewed together
in sections, according to various designs, and resemble mosaic work.
There are more circular rugs found in China than in any other country,
and some are exported. But they are seldom called for in this country,
and clerks in the large establishments which import them express
surprise when inquiries are made for them. The warp of the ordinary
Chinese rug is mostly of cotton, and the woof and pile are of wool or
camel's hair.
Tsun-hua rugs are made of silk and camel's hair in the province of
Chi-Li.
JAPANESE RUGS
In olden times woven rugs were not known in Japan. The wealthy classes
of Japan covered their floors with grass, over which they spread the
skins of animals. The poorer classes had not even skins, but only reeds
or straw. About four hundred years ago silk and wool rugs were
introduced into Japan from Persia, China, and India. For a time the
Japanese imitated these rugs, but later the industry ceased. Since the
opening up of the country, however, rug-weaving has prospered, and the
introduction of fine cotton yarns of uniform quality has increased
greatly the growth of all textile industries. The modern Japanese rugs
are made of cotton or jute, and are used extensively in the United
States in summer homes. In the towns which produce these rugs little
children may be seen busily engaged in weaving, their small fingers
being very deft at this work. The chief colors employed by the Japanese
in their rug-weaving are blue, white, and sometimes a beautiful pink. In
weaving, designing, and coloring, as in everything else the natives do,
their exactness of finish and thoroughness in detail are noticeable. The
Persian designs which were once reproduced in Japan are now supplanted
by designs purely Japanese. The dragon is a favorite design in some of
the older rugs.
[Illustration: KHILIM RUG
SIZE, 12.2 × 5.6
_This is an unusually fine specimen of the antique Shirvan Khilim. Its
hues are softened by time, and the contrasting colors are so carefully
blended that the artistic effect is not lost. This Khilim has been
carefully woven, and is firm and durable. The broad bands of apple green
and other hues, interrupted by narrower bands, give a certain character
and strength of appearance to this beautiful piece of Oriental
workmanship. Some of the bands are embroidered with much skill._
OWNED BY MRS. ROBERT DUNLAP, CHICAGO.]
KHILIM RUGS
WRITTEN ALSO GHILEEM, KELIM, KILIM
The largest number of Khilims are woven in Turkish Kurdistan, although
many are made in the adjoining territory, and at Sinna and Shirvan. They
are also woven by the nomads of Anatolia and Merv, and Turkey in Europe
now produces many Khilims, especially in the vicinity of Servia.
Khilims are made in different sizes, and are alike on both sides, with a
smooth surface. Perhaps the Khilims most familiar to us are those which
are long and narrow. But there are also smaller sizes, the smallest of
all being called mats. All are without nap, and are woven with the flat
stitch by the means of shuttles.
Karamanian is another name given to this decorative piece of tapestry.
The Karamanian is woven in the tents of the nomad Yuruks and other
Turkoman tribes. Occasionally this weave and the Kurdish have a mihrab
at one end, showing it to be a prayer rug. The Sinna Khilims have a
Herati design, and colors of green, yellow, and rose are frequent. The
webbing at the end often contains a narrow stripe.
A bit of romantic sentiment is woven into the Kis Khilims, as those made
by the Turks in Anatolia are often called. It is asserted that the word
means "Bride's rug," and that the name is derived from the fact that
these rugs are woven by young girls, each of whom endeavors to finish
her rug in time to win a husband. A lock of hair is often found in the
Kis Khilim, said to have been woven in by the girl who made it.
In Oriental countries the Khilim is used as a floor covering, and also
as a curtain to divide the dwelling portion of the tent from that in
which the cattle are sheltered from the storm. It is also used by the
natives on their journeys, and for general wear on the floors.
In the United States this fabric is exceedingly popular as a hanging,
and for the cover of a divan it is equally effective, whether used in
the home or in the studio.
POLISH RUGS
There are few of the so-called Polish rugs in existence, and these are
priceless and cannot be bought. They are mostly seven feet long by four
wide. The name takes its origin from the fact that a Pole (by name
Mersherski), after travelling in Persia and India, established a rug
factory in Warsaw.
Polish rugs are of silk, with gold and silver thread interwoven. Their
texture is looser than that of the usual Oriental rug, and for this
reason they cannot stand hard wear; but they are exceedingly handsome
with their gold lustre and silky sheen. In these rugs a number of warp
threads are crossed by the metal threads and overspread, so that the
lines or ribs are brought out more prominently. This in part accounts
for the softness and looseness of the texture.
Some time ago Dr. Wilhelm Bode, the eminent German scholar and authority
on antique Oriental rugs, decided that these unusual rugs were of
Persian origin, because of their general style and design. Since then
Mr. R. Martin has proved this by documentary evidence.
PRAYER RUGS
The prayer rug is so distinctly _sui generis_ that it requires a little
explanation. It is to be found wherever dwell the followers of Mohammed,
and the design usually includes a representation of a mosque, or place
of public worship, showing the mihrab, which is the niche in the wall of
the mosque, so located that when the worshipper prostrates himself
before it he will be prostrating himself toward Mecca.[A]
[Footnote A: Some prayer rugs have a representation of the hands of
Mohammed, and on them the suppliant places his own as he throws himself
prostrate. In the corners of some of these rugs pulpits are represented,
and occasionally trees.]
The Mohammedan, if he build a mosque, locates it so that its axis
extends in the direction of Mecca; in such buildings the mihrab is not
necessary, as the natural position of the worshipper places him so that
his face is toward the sacred city. Where Christian buildings, such as
the great Basilica of St. Sophia at Constantinople have been
appropriated for Moslem worship, the niche or mihrab may be located well
toward one corner of the building.
[Illustration: OLD KIRMAN PRAYER RUG
SIZE, 6 × 4.1
_This beautiful and rare rug has an ivory field thickly studded with
small floral designs woven most carefully. The knots are very closely
tied, and the texture is soft and fine as velvet. A cypress tree
occupies the centre of the field, and above its base on either side
appears the head of a bird. Below there are two peacocks, in gorgeous
plumage. The upper parts of the bodies of the peacocks seem actually to
glisten like cloth-of-gold; silk threads appear in the tail feathers. At
the top of the rug rests a bird of brilliant plumage, and on either side
a bird evidently in the act of flying. The border of this fine rug is in
stripes, the widest of a golden hue, with turquoise blue, light green,
and soft reds in delicate tracery. The corner areas are deep and very
minutely woven, corresponding perfectly with the field. Toward the
centre of the corner areas and extending upward, is the mihrab,
proclaiming for what purpose this rug was woven._
OWNED BY MISS BUCKINGHAM, CHICAGO.]
The prayer rug was evidently invented for the purpose of providing the
worshippers with one absolutely clean place on which to offer
prayers. It is not lawful for a Moslem to pray on any place not
perfectly clean, and unless each one has his own special rug he is not
certain that the spot has not been polluted. With regard to the purity
of the place of prayer Mohammedans are especially careful when making
their pilgrimages, the rugs which they take with them having been
preserved from pollution by being rolled up until the journey is begun,
or until the hour of prayer arrives. It does not matter to these
followers of Mohammed how unclean a rug that is on the floor may be,
because over it they place the prayer rug when their devotions begin.
About two hundred years ago small embroidered rugs were largely made in
Persia, chiefly at Ispahan. These were prayer rugs, and on each of them,
near one end, was a small embroidered mark to show where the bit of
sacred earth from Mecca was to be placed. In obedience to a law in the
Koran that the head must be bowed to the ground in prayer, this was
touched by the forehead when the prostrations were made, and so the
letter of the law was carried out. The custom still prevails. The
Persian women who make the finest prayer rugs seldom weave any other
kind of rug. But the encroachments of civilization and commerce have
changed the original purpose of the prayer rug. Once it was sacred, and
the masterpieces of workmanship in the products of Asia Minor were
devotional in character. Upon these rugs many a soul prostrated himself
before Allah in reverence; but now in the further interior only is the
prayer rug made for aught but commerce.
As a class the modern Anatolian prayer rugs are quite inferior, being
woven irregularly, and without regard to details or finishing; yet there
are among them some fine specimens of Anatolian weaving. The famous
prayer rugs of Asia Minor (Anatolian) made at Ghiordes, Kulah, Laodicea,
and Meles are described in preceding pages. They are the joy of the
collector and the artist. The antique Ghiordes rugs are really fine in
colors, generally with much pale green, red, or blue. The design most
frequently seen is the Tree of Life. One special kind is distinguished
by a yellow vine on a dark blue field.
[Illustration: OLD ANATOLIAN PRAYER RUG
SIZE, 6 × 3.8
_A deep, soft pile, firmness of texture, and superb coloring,
characterize this rug. The lower section of the field is of cherry-red;
the upper portion is a lighter shade of red, but blending perfectly, and
forming by its shape at the top the niche which is characteristic of the
prayer rug. This extends into the wonderful moss green of the upper
section. The two tones (which appear exaggerated in the black and white
plate) suggest the thought of a passing shadow upon a mossy bed. The red
and green of the field are separated by heavy serrated lines of ivory,
which unite at the top, leading up to and enclosing a small red lozenge,
terminating beyond this in the hook design. It is in the centre of the
lozenge that the Moslem places the stone or bit of earth when at prayer.
Other hook designs and various geometrical forms are arranged upon the
field. The wide stripe of the border is of a fine yellow, rich and
lustrous, decorated in blue, green, and maroon devices. The outer border
is in brown, and it is interesting to observe the series of nomad tents
represented, each one worked in white wool, the entrances to the tents,
however, being in reds, blues, or yellows. Alternating with each little
dwelling are figures worked in red, blue, or green. This interesting rug
is a product of Cæsarea._
OWNED BY MR. GEORGE HUBBARD HOLT, CHICAGO.]
SILK RUGS
Long before other countries learned the art of cultivating silkworms,
China was at work weaving fabrics of silk. Chinese historians claim that
the origin of reeling silk and putting it to use was discovered by a
woman,--Se-Ling-She, wife of Hwang-te, third Emperor of China,--and for
that reason she has always been regarded by them as the "goddess of
silkworms," The date of this discovery is about 2640 B. C. For about two
thousand years the Chinese kept secret their methods of reeling and
weaving silk, but finally Japan, Persia, and India learned the art,
Persia having for many centuries transported raw silk between China and
the West. Very slowly grew the process of silk-weaving. Greece, Spain,
and Sicily by degrees attained the knowledge. In A. D. 550 it was
introduced into Constantinople, and in 1148 silk manufacture was carried
into Italy, and the cultivation of mulberry trees was enforced by law.
The industry soon spread into the south of France, where it rapidly
advanced.
At the present day enormous quantities of silk are produced in various
parts of the world. The principal countries are China, Japan, India,
Southern Europe, and some parts of Persia and Asia Minor. During the
Middle Ages and down to the seventeenth century, the province of Ghilan
in Persia produced very fine silk and in large quantities. In all the
countries and districts just mentioned, magnificent silk rugs have been
woven for many centuries.
The silk rug when at its best is unsurpassed in beauty; it is
distinguished by its richness, exquisite coloring, and rare sheen. But
silk rugs require the most luxurious surroundings: nothing looks so out
of place as one of these costly fabrics of the loom in a poor setting.
They are more suitable for decorative purposes and museums than for
service; they should be used as hangings, not for floor coverings. An
exquisite silk rug interwoven with pearls is hung before the famous
Peacock Throne of the Shah at Teheran, Persia.
The most magnificent silk rugs have been woven in China, and these are
interesting from every point of view, especially as regards history,
color, and texture. The silk rugs of Khotan are remarkable for their
beauty and fineness; on important occasions of state and ceremony the
Chinese place them upon the table. Silk carpets of special beauty worked
with gold threads are made in Pekin for the Imperial Palace, although
many of this kind found at the Court are said to be of Central Asiatic
origin.
In making silk rugs, the greatest care is necessary in the shading.
Sometimes the shading of woollen rugs is made more effective by the
addition of silk.
[Illustration: PERSIAN SILK RUG
SIZE, 5.8 × 4.12
_This remarkable rug in some lights suggests the heart of a forest. Some
of its sections indicate Chinese inspiration, and recall, too, the
famous Hunting Rugs. The field is in an unusual shade of reddish bronze,
with a strong metallic lustre. In certain lights the surface looks like
a mass of gleaming gold. In the centre stands the Tree of Life, its
branches rich with foliage, among which birds of bright plumage seem to
flutter. At the base of the tree two wild animals are depicted,
apparently in search of prey. In the corner area at the top of the rug
two serpents are attacking young birds in a nest, which is guarded by an
agitated parent bird. On either side at the base of the rug is a cypress
tree. Across the top is an inscription in Arabic._
OWNED BY MRS. EMMONS BLAINE, CHICAGO.]
As the demand for silk rugs is comparatively small, they are seldom
woven on speculation. When made to order in Persia, they cost from ten
dollars to fifteen dollars per square foot; thus the usual price of a
silk rug of Persian make is from two hundred dollars up to thousands of
dollars. Those made in Turkey can be bought much cheaper.
The Turkoman silk rugs are generally twice the size of the usual sheep's
wool or camel's hair rugs. They are very fine, and often two hundred
dollars is paid for a rug of this kind eight feet square.
Rugs made of raw silk are exported from Samarkand, and silk rugs of old
Persian designs are copied and woven at Cæsarea. Some weavers of the
modern silk rug, however, do not have recourse to established designs;
they give play to their imagination, as do the weavers of wool rugs.
Other weavers copy chiefly designs from chintz, and still others work
from designs introduced from Europe.
Mrs. Bishop tells us that silk produced at Resht is brought to Kashan to
be spun and dyed. Then it is sent to Sultanabad to be woven into rugs.
It is next returned to Resht to have the pile cut by the sharp
instruments used for cutting the velvet pile. After the rugs are
finished, they are sent to Teheran to be sold.
FELT RUGS
In the Orient a large and heavy rug is made of felt. This is used
extensively by the natives, but is too heavy to export. Even the
shepherds of the Kotan-Daria and of the Keriya-Daria use it in their
primitive and isolated abodes. Sometimes an old felt rug is propped up
by poles and becomes a tent, in which dwell the shepherds of Central
Asia.
This felt rug is made of the hair of the camel, goat, or sheep, or by a
mixture of all these kinds. It is matted together by heavy and constant
pounding, moistened with water, turned and beaten again and again until
it becomes compact and solid. Sometimes the felts are decorated with
colored threads and often the name of the weaver is woven in. Among the
best felts are those made at Astrabad and Yezd.
In color felts are gray, brown, or white. The last named are woven at
Khotan. No dye is used; the hue is that of the hair of the animal, or
the composite hue resulting from the mixture of the hair of different
animals.
[Illustration: DERBENT RUG
SIZE, 7.2 × 4.6
As a representative Derbent rug, this is an excellent example. It has
the soft thick texture and long pile characterizing this product of the
Caucasus. The entire dark blue field is covered with well-proportioned
lozenge-shaped forms, distinctly outlined with serrated lines. Every
centre has a cross of a color contrasting with the form containing it.
The main border stripe is geometrical, with a variety of the hook
design. Several floral devices are arranged in the maroon stripes on
either side the wide one. There is a good deal of lustre to the rug, and
the coloring is particularly charming in fine blues, soft rose, fawn,
copper brown, subdued yellows, ivory, and rich green.
OWNED BY MRS. ARTHUR DANE WHEELER, CHICAGO.]
The felts have no seams, and are from one to four inches thick. Although
this material is of far more ancient date than the days of St. Clement,
a legend connects his name with the discovery of felt. The tradition
is that while on a pilgrimage the Saint, having put a wad of carded wool
into his shoes to protect his feet from blisters, found at the end of
his journey that the pressure and moisture had converted the wool into
felt.
HUNTING RUGS
The hunting rugs of Persia are the most remarkable and interesting rugs
in existence. They had their origin in the Chinese pictures of hunting
scenes, from which they were copied. They were undoubtedly made as early
as the sixteenth century for the Shah. Exquisite in their weaving,
marvellous in coloring, and of rare sheen, they are worthy of the
closest attention. Nor is this their only merit; they serve as records
of ancient customs, depicting the method of the chase, and portraying
the mounted hunters in pursuit of the elephant, lion, phoenix, deer, and
other creatures, fabulous and real. There are perhaps twelve of these
precious rugs in existence. One, in silk, belongs to the Imperial House
of Austria, another to Baron Adolphe Rothschild, a third is in the
Palace at Stockholm, and a fourth, in wool, smaller than those
mentioned, is in the possession of M. J. Maciet, Paris.
V
RUG-WEAVING IN EUROPE AND THE UNITED STATES
In the preparation of this section of this work, there has been no
attempt or desire to slight in any way the weaving industry of the West.
It has not seemed advisable, however, to go into many details on the
subject, for it is one easily learned from many sources by any one who
desires. There is not the mystery about Occidental weaving that there is
about Oriental, the latter perhaps appealing to our innate desire of
acquiring knowledge difficult of access. A short account of rug-weaving
in Europe and the United States will, therefore, be quite as
satisfactory to the general reader as a more lengthy description.
GREEK RUGS